Lucie & Simon, french & german, live and work in Paris, France. Both are self-taught aritsts. Simon worked as first assistant to artists Francois-Marie Banier (Gagosian gallery) and Peter Lindbergh (Hans Mayer gallery) from 2004 to 2008.The point of view from the ceiling or the sky literally compresses the space of the image into a surface. The gaze sticks like a suction pad; in the presentation of images on the exhibition wall, which tips forty-five additional degrees the tables, beds, meadow, swimming pool, everything that the image contains starts sliding at the same time as the people the image has focused on. The law of gravity pulls the characters and props towards the depths(…). The apparent or real incongruities of the scenes that Lucie & Simon present are only revealed after a certain amount of time, after intensive observation. This prolonged gaze doesn’t lose itself in an illusionary space but, thanks to the duo’s structuring of surfaces, slowly studies the images like an investigator inspects the scene of a crime. Crimes scenes: is the name that German writer and critic Camille Recht, reprised by Walter Benjamin, gave to Eugene Atget’s photographs (…).The images’ references also remain perfectly open. It is not even possible to establish a link between Lucie & Simon’s images and the genres and methods common to photography. Are they snapshots for which chance has at least partially assured the mise en scene, the outcome of patient waiting, set-ups carefully prepared according to a precise concept, or improvised within the limits of a flexible conceptual framework? Precise knowledge of the situation wouldn’t provide much more insight. The artists supremely combine genres and methods, they quote and blend, and discover Mac Guffins in pointless details, in other words: the levers capable of smashing the common assurances and certitudes of existence.